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Scott Borchetta Advocates Aaron Lewis’ Right-Wing Country Hit Promotion



Scott Borchetta Advocates Aaron Lewis' Right-Wing Country Hit Promotion

Scott Borchetta, founder and president of the Big Machine Label Group, defended the company’s promotion of “Am I the Only One,” a song that denounces Aaron Lewis’ liberalism, which criticizes Bruce Springsteen and defends the Confederate statue. I advocate.

Borchetta’s praise for the song came from a letter to industry blogger Bob Lefsetz, who took down a divisive song by now conservative celebrity Lewis. The singer of hard rock band Staind has devoted more and more of his career to becoming a solo country artist in recent years, in the process publicly advocating polarized political views in his songs.

“Terrible!” Lefsetz wrote about “Am I Only One” on his blog. This blog is well read by many in the music industry. “This middle-class right-wing vagrant recorded a song that should have been played at CPAC. It’s like idiots in the middle of a speech telling you to reject ‘Fauci ouchie’.”

Borchetta responded in a letter to Lefsetz’s trial: “First, I believe in the First Amendment. My job was not to tell my artists what to sing and write.”

Borchetta wrote: “Aaron Lewis and I have political differences. But there are also things we agree on. I think that is the foundation of our country’s ideology. It won’t work if we’re so divided that we can’t get across the aisle, we can’t have a conversation or an argument, and ultimately we can’t shake hands. If we cannot do that and if this moment is too divisive, we will never get our country back.”

“Am I the Only One” was released just before July 4 and became a #1 country song on the Billboard charts after being heavily publicized by Fox News, Breitbart, and other conservative media. After all TV impressions, it reached #1 status by paid downloads. Big Machine has not yet promoted the song on country radio, but as of July 26, subsidiary label Valory will begin further work on the format. audience.

Despite the song’s generally belligerent tone, the lyrics of “Am I Only One” are often vague about what makes Lewis angry about the progress, but a few times they are specific. Lewis sings about “And Blue, Burnin’ on the ground, another statue is coming down to the town near you,” suggesting that his main concern is flag burning, which hasn’t been in the news. Recently — and what happened, demolition of a statue of a Confederate soldier honoring the leaders of the Slavery War for Independence in America “Am I the only one who can’t stand it anymore / shouting” ‘If you don’t like it, damn it, there’s a door’ Lewis sang in the compilation, not the radio. He also expresses his will to “take bullets for freedom” and fight bosses with these legs. (Lewis doesn’t elaborate on what his problems are with Springsteen.)

Referring to BMLG’s subsidiary label, which releases and promotes singles, Lefsetz said, “Why does Valorie put out such rubbish? Come on, Scott Borchetta, David Geffen dropped the Geto Boys on their disgusting lyrics and now you are you marketing?” Then, the blogger talked about how Geffen was seen as a role model for colleagues and successors, suggesting that Big Machine ancestors were doing the wrong thing if they wanted the same respect: “Come on, Scott, get your head off the back of your head. Anyway, how much money can you make here and it’s all about money at this point, isn’t it?… Lewis is appealing to (the Trump voters) with the help of Borchetta, without which Lewis’s track would die in the water. It is.”

Borchetta’s Response: “It’s ridiculous to just ‘cancel’ (stop) Aaron and I’m disappointed that you made such an offer. Do you compare Aaron Lewis to the Ghetto Boys? It is half reachable. You don’t have to agree or acknowledge it, but Aaron’s message is speaking to millions of people. Set the alarm for both reps and Democrats. it woke you up It gave me the opportunity to speak. It worked. It’s working. It’s an inspiring conversation.”

Some observers wondered if Valory really wanted to promote the song on the radio, given the format that turned out to be uninterested in playing a divisive song even among a group of stations with conservative owners. The label’s hand may have been forced after the song reached number one on the Billboard without a radio play. But Borchetta’s defense against the single was surprisingly strong.

In a follow-up email to his subscribers, Lefsetz reprinted numerous letters from readers in the music industry. Most (but not all) of them ignored Borchetta’s response and supported Lefsetz’s original slam. Several people have challenged Borchetta, suggesting that the First Amendment was related to his behavior as a business leader.

In a letter to Lefsetz, Borchetta pointed out that Big Machine is also home to progressive artist Sheryl Crow and released her pro-Kamala Harris song “Woman in the White House”.

In response, Rick Sorkin, co-founder and partner of the LA Remarkable Digital Group, wrote, “He shouldn’t get the name of Sheryl Crow out of his mouth.” Sorkin also wrote: “What a bastard… Let’s ask him how he feels about the ‘everyone should speak louder’ tactic after the domestic Republican terrorist attacks (or after) based on misinformation and misinformation. He sings his song Spoiler warning: he won’t because he doesn’t support anything other than actually making money.”

However, ABC Television’s SVP of Music, Dawn Soler, wrote supportive of the Big Machine’s ability to provide a platform for Lewis’ views. she wrote: “From a Very Upset Girl,” was a song that every American could sing, except for knowing the statue line and Aaron’s political beliefs. Nationwide, Red and Blue, we’ve all felt most of his lyrics over the years. If an artist can inspire patriotism and thought on both sides, that’s a beauty and always needs to have a voice. I applaud executives who say so, even if it goes against their personal convictions or cancel someone.”

Jarred Arfa, COO of Artist Group International, disagreed. “How funny (Borchetta’s reaction) was,” Arfa wrote. “Aaron’s message is reaching millions of people. role. As you rightfully point out, in most cases you don’t know or care who Aaron Lewis is. And what spin does he inspire conversations with? The same can be said about Tucker Carlson. Not a good thing. I thank God for allowing people like Olivia Rodrigo to have so much more influence in advocating for vaccines. Perhaps Aaron will go on a deplorable journey and play with a ventilator in every hospital with unvaccinated people.

Borchetta and Lefsetz have had a publicly up and down frenzy relationship over the years, which the music mogul described as “You and I haven’t been on good terms for a while…

Borchetta was responsible for turning bloggers into influential Swift boosters early in her career. Then Lefsetz saw her performance at the 2010 Grammy Awards and said, “Did Taylor Swift kill her career overnight? I would argue she did… In an instant, Taylor Swift threw herself into the trash can of teenage geniuses. … If you can’t sing, it’s hard to become a singer.”

This, of course, inspired Swift’s next hit album, “Mean”. So, one thing that Lefsetz and Borchetta have in common is that Swift wrote a covertly veiled distrack about the two. But before the singer and her label topper became estranged, he sometimes wrote to Lefsetz to defend her, as the blogger continued to denounce almost every move of her during the interim eleven years.

Borchetta used other parts of her latest correspondence to dismiss Lefsetz’s claims that streaming is the only real measure of modern success, and that Lewis’ strong download sales and suddenly higher profile are irrelevant. On Lefsetz’s rave reviews of Morgan Wallen as an artist far greater and more relevant than Lewis, Borchetta writes: Ironically, culturally, Aaron Lewis and Morgan Wallen have much more in common than you do. You are talking from both sides. But that’s why we read you. You inspire conversation. Thank you for that.”

Originally reported by Source link

The featured images are, as they appear on the original report.


Long-term questions about social media’s ad revenue boom



Long-term questions about social media's ad revenue boom

The advertising recovery over the past year has been remarkable, but no one has benefited more than tech companies, especially social media platforms.

Businesses continue to pour cash into advertising on the platforms with the greatest reach, as this week’s Q2 financial results from social giants including Snap, Twitter, and Facebook show.

The total revenues of these three social enterprises, which come almost entirely from advertising, saw another divergence. Snap posted revenue growth of a whopping 116%, while Twitter’s revenue grew 74%, the highest growth since 2014.

On the other hand, Facebook’s sales growth rate was 56%, the highest since 2016, and there were advertisements to be grateful for, accounting for about 98% of total sales. The number of Facebook ads delivered increased 6%, and the social giant saw its average price per ad increase 47% over the second quarter.

This is not too surprising given the massive user engagement for these platforms. In Q2, Snap reported a total of 293 million daily active users (DAU), a 23% increase over last year, and Twitter’s monetizable daily active users (mDAU) or users viewing ads on the platform increased by 11% 2 reported 6 billion people.

And there is a giant called Facebook. It has 1.91 billion DAUs and 3.51 billion monthly users across its app suite, including Facebook’s main apps, Messenger, Instagram, and WhatsApp.

Facebook tops the older demographic for usage, according to a new study from GetWizer Consumer Insights of nearly 1,500 Americans of VIP+. The situation between the 15-29-year-olds, who more regularly and actively use various platforms, was even more interesting. They said last week they spent at least 30 minutes on Instagram, Facebook, Snapchat and Twitter.

Whatever these companies are doing now is definitely working, as advertising revenue is steadily growing at an alarming rate. However, there are concerns that the growth will not be sustained in the long term, and the recent Apple iOS 14.5 update is expected to act as a major threat to Big Tech’s advertising strategy.

Social media platforms like Facebook, Twitter, and Snap use targeted advertising to reach their audiences. Personalized experiences that have proven to be more effective at getting people to click and even buy through the ads they serve.

However, new Apple software updates give users more power and control by giving them the option to opt out of app tracking. Snap, Twitter, and Facebook are all doing their best to estimate how much impact software updates will have, but Facebook CFO David Wehner warns that if the advertising business is affected, it will be worse in Q3 than Q2.

As social giants explore the current advertising landscape, the biggest opportunities are in video and mixed reality (VR, AR, etc.). Video advertising is showing healthy growth, and Facebook COO Sheryl Sandberg said in its earnings call Wednesday that the company is seeing more than 2 billion in-stream ad-qualified videos every month. Facebook and Snap are both actively working to become leaders in VR and AR, respectively, and these moves could open new avenues to further drive ad revenue.

Facebook revealed in its earnings call that it plans to create a so-called metaverse. Zuckerberg said this will be a social and digital environment unlike anything else that exists. Building the metaverse doesn’t happen overnight, but the ultimate goal is to make money by selling virtual goods and advertising them internally.

Whether Zuckerberg’s metaverse ideas are as grandiose as he invented them, it’s true that social media companies will have to ponder and ponder for a long time to innovate and tap the next stage of growth in a rapidly evolving environment.

Advertising is the bread and butter of social, and new delivery methods will play an important role in determining who succeeds and who lags behind.

Originally reported by Source link

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Billie Eilish proved that her first album on ‘Happier Than Ever’ was no coincidence.



Billie Eilish proved that her first album on 'Happier Than Ever' was no coincidence.

If you’re a big fan of the confessional pop songwriting school, waking up to the release of Billie Eilish’s “Happier Than Ever” will feel like Christmas morning. It doesn’t feel too neatly tied with a bow. Her 2nd studio album hits a sweet spot where mixed emotions about love and fame, and sometimes self-contradictory emotions, seem to pour out in real time, despite the complex production and vocal rhythm betraying the song’s secret. All work is done. An intersection that somehow looks perfectly formed and at the same time perfectly messy? For some listeners, it may be the happiest place on earth.

What it isn’t: Noisy, or even particularly mezzo most of the time. Eilish is running almost the arena from now on, as anyone would expect, but she and her collaborator brother Finneas have resisted the temptation to bring the message to the media with any flair. Fill a space the size of a hockey field. It is an album that feels more friendly than the first, and the first one came to me quite friendly. “Happier Than Ever” has some explosive moments. The second half of the title track, which is basically a wall of distortion, is definitely important. But what shakes the room like “You Should See Me in the Crown” or “Bad Guy”? no way. And that will be fine by most of the fan base already ready to lean on instead of a blast. Great headphone record. How it goes on the Fabulous Forum is something to worry about later.

The whole release might seem anti-emotional because so many parts of the album have already come out. Seeing how 6 of the 16 tracks had previously entered the realm and were selected and killed (5 singles, 6 colloquially “Not My Responsibility”, video), how many people would therefore see how many people would think by the time the release date arrives. I am-pieces about the Eilish world left in it. The answer should be: Much more. Exactly a year after “My Future” was released as a single, as the fourth track after three previously unheard songs, it’s a little strange to hear the new album sound like it’s being interrupted by a hit. collection. But Eilish has a voice that’s good enough to speak and charming enough to sing, so you don’t feel spoiled by all the crumbs throughout the album. With all that interim music and documentary and internet-breaking Vogue cover, she still doesn’t feel overexposed. (Note to other singers who might consider that it’s a good idea to never leave the public eye for her ubiquity: don’t try this at home.)

It turns out that “My Future”, which has just celebrated its one-year anniversary, doesn’t indicate where the rest of the material has gone. Yes, perhaps a fairly subdued tone and showcase of vocal stylist Eilish, which is not the usual feeling of satisfaction. “We All Fall Sleeps, Where Do We Go?” I’ve been hearing a lot about her since then. What made her a global sensation in 2019 is how she got in a better position and overcame the teenage demon with a powerful family support system. The sensuous oral maturity of ‘My Future’ solidified that impression. But how can you not like her if she doesn’t get mad to overturn Bruce Banner’s words? As it turns out, we don’t need to know, at least yet. “Happier Than Ever” is perhaps a title with multiple levels of authenticity and irony. Eilish allowed her to be happier…Er. But when it comes to her personal damage and our interests, it’s a pretty annoying record. The Grammy-winning single “Everything I Wanted” (which Eilish did not include here and left as a standalone) was information that she had some feelings for fame, and Eilish didn’t limit it here. Even an older man and a narcissistic boyfriend who took advantage of her youth can see that there remains uncertainty about how the categories might overlap. Suicidal thoughts and night terrors no longer appear as they did on the first album. In “Happier Than Ever,” 19-year-old Eilish, after self-harm, deals with the everyday insults she must endure when she knows she has to go on living. Fortunately, the components that make up a daydream can be just as exciting as a lucid dream.

It’s an old self-evident idea that artists spend their lives writing their first album, and then sometimes spending the rest of their lives writing about how unhappy their first album’s success was. It is often the best trap to avoid. However, Eilish works for her on a significant portion of the album. She uses a lot of sharp observation and self-perceived humor to go with her post high-level celebrity self. -Consciousness. The whole log isn’t about it, but she’s a very interesting self-narrator, so you’ll hardly care. “you… I feel like I’m always watching.” She whispers in the middle of “Not My Responsibility.” And it breaks down the fourth wall, so intense that you can feel the Irishness right in front of you, and looking behind you. That particular monologue deals with body shame, the lust of the male gaze, and all the double standards she handles, and I’ve taken the edit if you feel it’s a bit biased compared to the rest of the album. Most others are observational and conversational, but often speak in a serious manner. Repeated references to her stalker are nowhere to go, even Taylor Swift. The inevitable paparazzi (“News? News to whom? Am I really just like you?”); A semi-ludicrous, half-poignant acknowledgment that she signed the NDA before sending him into the night. All these details should theoretically make her less relevant, but counter-intuitively, it has the opposite effect. We all know enough about the celebrity trap at this point, and we can see that Eilish is accurately portraying how we would feel if we were in her position. It’s like a much more beautiful variation of “Curb Your Enthusiasm” featuring celebrities. The aggravation doesn’t seem to be really that far away from us.

It leads to perhaps the scariest position on the album. “Things I once enjoyed / now stay employed.” There is the worst fear of all musicians, or what they should be most afraid of. “Happier Than Ever” would be a sad album if Eilish actually felt really faithful to it when making music. But for all that snark and kvetching it’s a really enjoyable experience. There’s not a single cynicism that infects the love of sound she and Finneas have, and what you can do within the minimum volume levels of an almost silent, two-handed, one-man band activity. The dynamics are so subtle that “When We All Fall Asleep…” sounds like a show off record. Finneas has her own empirical moments as a co-writer/producer. The record-breaking effect of giving “I Didn’t Change My Number” an extensive outro is the kind of fun he can do professionally, and welcome when “Oxytocin” leans harder on the beat to get you up. Breath of hot air. However, most of everything here exists to make up Eilish’s voice and only goes up once or twice. She has refused to be referred to as a “whisper” in her songs, and although it usually means compliment, I can understand how she could take the term reductively. Her phrasing is exquisite, and even more jazz-like when her singing is filled with rock ‘n’ roll lightness or has the rhythm of a rapper. Finneas is also accumulating more of her own backing vocals than adding her own, but co-writing has a kind of “blood harmony” that’s more than a song. It seems to be the work of one author, not two. (This is almost unheard of in the modern age of 10-person co-writing.) The emotions may feel vague, but the final musical effect is sort of like watching a series of unfiltered, raw diary entries unravel. of your favorite font.

After all, it’s not just music that Eilish likes to save. She allows moments of true love and/or true lust on the album, with a few co-workers whose evenings with her may not have ended with an NDA. Or maybe her affections from “Billie Bossa Nova” or “Halley’s Comet” may now be fantasies, but “I Didn’t Change My Number”, “Lost Cause” and “Your Power”. In “My Future,” the awakening of self-love is still realistic, but in order to at least slightly offset the rise of “I made every moment of yours yours,” a little “stupid me, stupid making me fall in love with you” You benefit from having “me”. / Just leave me fucking alone” screams the title track.

Don’t let all this seem too solipsistic. And why? This is the basis of grand pop music. Eilish also has an eye for the big picture. “Everybody Dies,” as the title suggests, does a great job on the subject of death. “You should know / when the time comes / you may not want to go,” she told fans. Some of them are young enough and may not have considered this before… Then she ends the song by adding: “But it’s okay. / It’s okay to fold. / But you’re not alone / You’re not unknown.” And damn, if in these moments of comfort she doesn’t sound almost… maternal.

Needless to say at this point, let’s say anyway. WTF? Are you still 19 and developing your music like this? really? At the beginning of the album, Eilish sings: This is one of the only records of how Eilish got through her teenage years that it’s hard to tell if she’s joking or serious. If she feels like a veteran, that’s how we can reasonably feel about her too. Eilish has a spookyly precocious personality that makes us feel like we got to know him by spending a lot more time than we know. The fact that she’s still relatively young to become an artist is part of the thrill of “Happier Than Ever.” Even if you don’t have to think about her future for the record itself to be a happy reward.

Originally reported by Source link

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Prentice Penny inks Disney’s Onyx Collective and the overall deal.



Prentice Penny inks Disney's Onyx Collective and the overall deal.

Peabody and Golden Globe winner Prentice Penny have signed an eight-digit multi-year full contract with Disney General Entertainment’s Onyx Collective.

Under the new deal, Penny will create, write, and direct new projects through her A Penny for Your Thoughts Entertainment banner across Disney platforms, including Hulu, the main home of the Onyx Collective title.

“I am very excited to partner with Onyx Collective for the next step in my career,” Penny said in a statement announcing the new contract. “The second time I sat with Dana. [Walden, chairman of entertainment at Walt Disney Television] and Tara [Duncan, president of Freeform and Onyx Collective] I knew I wanted to work with them and make this my new home. It is an honor to be on the ground floor of what Tara and the entire Onyx Collective team want.”

In addition to projects directly led by Penny, A Penny for Your Thoughts Entertainment will also have the ability to develop and oversee projects by other authors. The company’s president and partner, Chris Pollack, will continue to lead the company with Penny. The company’s development team, led by Alex Soler, will also move.

“The type of project Onyx, Chris (Pollack) and our fantastic team want to align perfectly with. We are also very excited to continue nurturing and developing more artists through this transaction,” added Penny. “As a writer/director/producer, you always want to have as many tools as possible to create all the different platforms of the Disney brand built for your art and your beautiful marriage.”

Penny is best known as an Emmy-nominated showrunner on HBO’s “Insecure”. Here he acts as executive producer and self-director. The hit series, created and starred by Issa Rae, returns for its fifth and final season this fall.

Most recently, Penny co-produced and produced “Pause With Sam Jay” with stand-up comedian and former “SNL” writer Sam Jay. The Late Night Series has been renewed for a second season on HBO. In 2020, Penny made her feature director and screenplay debut with the Netflix original film “Uncorked” starring Mamoudou Athie, Niecy Nash and Courtney B. Vance.

Announced in May 2021, Onyx Collective focuses on curating premium content for creators of people of color and marginalized voices. The producer roster of the Duncan-led Onyx Collective includes writer and comedian Natasha Rothwell (“Insecure”, “SNL”, “The White Lotus”). It is also home to all the non-Marvel titles produced by Ryan Coogler’s Proximity (“Judas and the Black Messiah”, “Black Panther”).

Duncan said of his partnership with Penny, “Prentice Penny was at the top of the vision board when it came to planning the Onyx Collective’s strategy and ideal partner.” “Prentice has a deep experience telling a very interesting and culturally specific story.”

Duncan added: “As a writer and director, his prolific ambitions and unique ability to discern trends make him the perfect creator to help build our brand. It is an honor for him to choose Onyx Collective as his creative space.”

In addition to the scriptwriting of A Penny for Your Thoughts, the multimedia company has also produced unscripted series, including the original lifestyle series “Upscale With Prentice Penny” for TruTV. Penny’s past credits include Golden Globe Award-winning “Brooklyn Nine-Nine”, “Happy Endings”, “Scrubs” and “Girlfriends”.

Penny is represented by WME, Theresa Kang-Lowe’s Blue Marble Management, attorneys John Meigs and Adam Kaller.

Originally reported by Source link

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